2020 Aacta Awards Reality Program Handbook
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GORDON RAMSAY's POLITENESS STRATEGIES in MASTERCHEF and MASTERCHEF JUNIOR US Annisa Friska Safa Eri Kurniawan Departemen Bahas
Annisa Friska Safa & Eri Kurniawan, Gordon Ramsay’s Politeness Strategies GORDON RAMSAY’S POLITENESS STRATEGIES IN MASTERCHEF AND MASTERCHEF JUNIOR US Annisa Friska Safa Eri Kurniawan Departemen Bahasa dan Sastra Inggris FPBS UPI Address: Jl. Dr. Setiabudhi 229 Bandung 40154 E-mail: [email protected] Abstract This research aims to investigate the types of politeness strategies that are performed by Gordon Ramsay in judging the Masterchef US and Masterchef Junior US contestants’ dishes and to reveal whether Gordon Ramsay performs any different politeness strategies between the Master chef and Masterchef Junior contestants. The data spring from Gordon Ramsay utterances, taken from the elimination test of two episodes of Masterchef season 4 (episode 9 and 12) and the elimination test of two episodes of Masterchef Junior US season 1 (episode 2 and 6). The framework of Brown & Levinson’s (1987) politeness strategies is adopted. Findings reveal that Gordon Ramsay performed bald on-record strategy, positive politeness, and off record strategy. Furthermore, Ramsay performed diferent varieties of politeness strategies in Masterchef; and performed only positive politeness strategy in Masterchef Junior. Keywords: politeness strategies, masterchef, masterchef junior, Gordon Ramsay Abstrak Penelitian ini bertujuan untuk menyelidiki tipe strategi kesopanan yang dilakukan oleh Gordon Ramsay saat menilai masakan dari kontestan Masterchefdan Masterchef Junior US dan untuk mengungkapkan adakah perbedaan strategi kesopanan yang dilakukan Gordon Ramsay kepada kontestan Masterchef US dan Masterchef Junior US. Data penelitian ini berupa tuturan Gordon Ramsay yang diambil dari tes eliminasi dalam dua episode Masterchef US musim ke-4 (episode 9 dan 12), dan dua episode Masterchef Junior US musim pertama (episode 2 dan 6). -
Andy Allen Was Just One Exam Short of Becoming a Fully-Qualified Electrician When He Entered Masterchef Australia As a Dare from His Mates
Andy Allen was just one exam short of becoming a fully-qualified electrician when he entered Masterchef Australia as a dare from his mates. Four years later, he hasn’t looked back. The boy from Maitland had a culinary baptism of fire during the series, eventually walking away with the title of Masterchef’s youngest ever winner. Andy soon packed his bags and moved to Sydney, and began working under the guidance of Darren Robertson and Mark LaBrooy at Bronte’s Three Blue Ducks. In 2013 Andy and his mate Ben Milbourne (Masterchef 2012 alumni) made good on their promise of visiting Mexico together, and it’s here that they connected with a Producer and began filming their culinary travels, in what became web series Andy & Ben Do Mexico. From here, things continued to remain flatout in the kitchen for Andy, but the curious chef had a foodie travel itch he couldn’t ignore. Next up, the boys co-produced the Spain and Portugal leg of what became their first television series Andy & Ben Eat The World, which received national broadcast in 2015. In 2016 Andy hit the road closer to home, with Andy & Ben Eat Australia. Andy is an author, a blogger (he won Pedestrian’s 10th Annual Food Blogger of the Year in 2015). He has appeared on The Today Show America, worked with numerous charities and continues to make people laugh and learn new things about food by sharing his passion for learning. In 2016, Andy added ‘restauranter’ to his CV, going into business as co-owner and chef of the Three Blue Ducks, Rosebery. -
France's Banijay Group Buys Endemol Shine to Create European Production Giant
Publication date: 28 Oct 2019 Author: Tim Westcott Director, Research and Analysis, Programming France's Banijay Group buys Endemol Shine to create European production giant Brought to you by Informa Tech France's Banijay Group buys Endemol Shine to 1 create European production giant France-based production company Banijay Group has reached agreement to acquire Endemol Shine Group from Walt Disney Company and US hedge fund Apollo Global Management. The price for the deal was not disclosed but is widely reported to be $2.2 billion. A statement from the group said the deal will be financed through a capital increase of Banijay Group and debt. On closure, subject to regulatory clearances and employee consultations. Post-closing, the combined group will be majority owned (67.1%) by LDH, the holding company controlled by Stephane Courbit's LOV Group, and Vivendi (32.9%), which invested in Banijay in 2014. The merged group said it will own almost 200 production companies in 23 territories and the rights for close to 100,000 hours of content, adding that total pro-forma revenue of the combined group is expected to be €3 billion ($3.3 billion) this year. Endemol Shine Group is jointly owned by Disney, which acquired its 50% stake as part of its acquisition of 21st Century Fox last year, and funds managed by affiliates of Apollo Global Management. Endemol Shine has 120 production labels and owns 66,000 hours of scripted and non- scripted programming and over 4,300 registered formats. Our analysis Endemol Shine Group has been up for sale since last year, and Banijay Group appears to be have been the only potential buyer to have made an offer, despite reported interest from All3Media, RTL Group-owned Fremantle and others. -
Oztam TOP 100 FTA SERIES 2017 (Metro Weeks 7-48 Excluding Easter, Consolidated)
OzTAM TOP 100 FTA SERIES 2017 (Metro weeks 7-48 excluding Easter, Consolidated) RANK PROGRAM NETWORK AUDIENCE RANK PROGRAM NETWORK AUDIENCE 1 Australian Ninja Warrior-Mon Nine 1,640,000 51 Sunday Night Seven 836,000 2 The Block-Sun Nine 1,474,000 52 Have You Been Paying Attention? Ten 831,000 3 The Good Doctor-Tue Seven 1,348,000 53 I’m A Celebrity…Get Me-Mon Ten 831,000 4 My Kitchen Rules-Mon Seven 1,315,000 54 800 Words Seven 827,000 5 The Block-Mon Nine 1,314,000 55 Doctor Doctor Nine 824,000 6 The Good Doctor-Thu Seven 1,296,000 56 Murder Uncovered Seven 819,000 7 My Kitchen Rules-Tue Seven 1,294,000 57 MasterChef Australia-Sun Ten 819,000 8 My Kitchen Rules-Wed Seven 1,290,000 58 Seven News-Sat Seven 815,000 9 The Block-Tue Nine 1,238,000 59 Bride & Prejudice-The Forbidden Wedding Seven 805,000 10 Married At First Sight-Sun Nine 1,230,000 60 The Coroner ABC 800,000 11 My Kitchen Rules-Sun Seven 1,221,000 61 I’m A Celebrity…Get Me-Tue Ten 796,000 12 Little Big Shots Seven 1,201,000 62 A Current Affair Nine 796,000 13 Married At First Sight-Mon Nine 1,200,000 63 I’m A Celebrity…Get Me-Sun Ten 793,000 14 The Block-Wed Nine 1,181,000 64 The Bachelor Australia-Wed Ten 790,000 15 Married At First Sight-Tue Nine 1,170,000 65 Broadchurch ABC 781,000 16 The Voice-Tue Nine 1,145,000 66 The Big Bang Theory-Tue Nine 781,000 17 House Rules-Sun Seven 1,115,000 67 The Wall Seven 773,000 18 The Voice-Mon Nine 1,108,000 68 Wanted Seven 772,000 19 Seven News-Sun Seven 1,100,000 69 Father Brown ABC 771,000 20 Nine News Sunday Nine 1,088,000 70 Nine -
Arxiv:1909.06810V1 [Cs.SI] 15 Sep 2019 from 35 Seasons of Survivor
Centrality in dynamic competition networks Anthony Bonato1, Nicole Eikmeier2, David F. Gleich3, and Rehan Malik1 1 Ryerson University, Toronto, Ontario, Canada 2 Grinnell College, Grinnell, IA, USA 3 Purdue University, West Lafayette, IN, USA Abstract. Competition networks are formed via adversarial interactions between actors. The Dynamic Competition Hypothesis predicts that influential actors in competition networks should have a large number of common out-neighbors with many other nodes. We empirically study this idea as a centrality score and find the measure predictive of importance in several real-world networks including food webs, conflict networks, and voting data from Survivor. 1 Introduction While social networks are often studied from the perspective of positive interactions such as friend- ship or followers, the impact of negative social interaction on their structure and evolution cannot be ignored. Structural balance theory posits positive and negative ties between actors in social networks, and assumes such signed networks will stabilize so that triples of actors are either all mutually friends or possess common adversaries; see [12], and [9] for a modern treatment. The pre- diction of the signs of edges in a social network was previously studied [15,18,21]. Further, negative interactions as a model for edges was studied in the context of negatively correlated stocks in mar- ket graphs [4], and in the spatial location of cities as a model to predict the rise of conflicts and violence [11]. Even in the highly cited Zachary Karate club network [22], the negative interaction between the administrator and instructor was the impetus for the split of the club participants into two communities. -
Australian Survivor 2019 - the Season That Outwitted, Outplayed and Outlasted Them All
Media Release 18 September 2019 Australian Survivor 2019 - the season that outwitted, outplayed and outlasted them all The votes have been tallied and this season of Australian Survivor broke audience records across all platforms – television, online and social - outperforming 2018’s record breaking season. Alliances were broken in the game and outside of the game, these were records that were broken this season: Network 10 • National total average audience (including 7 day television and broadcast video on-demand (BVOD)): 1.14 million. UP six per cent year on year. A CBS Company • Capital city total average audience: 912,000. UP ten per cent year on year. • National television average audience: 1.06 million. UP four per cent year on year. • Capital city television average audience: 823,000. UP seven per cent year on year. • 10 Play (7 day BVOD) average audience: 82,000. UP 37 per cent year on year. Across social, it was the most talked about entertainment show during its run. Total social interactions on Facebook, Instagram and Twitter soared 144 per cent year on year to 1.14m interactions, according to Nielsen Social Content Ratings. Australian Survivor’s 10 Play companion show, The Jury Villa, which followed the journey of jury members after they are eliminated from the game, achieved an average BVOD audience of 52,000, UP 64 per cent year on year. In the important advertising demographics, Australian Survivor was a challenge beast and across its run was the #1 show in under 50s and all key demos (16 to 39s, 18 to 49s and 25 to 54s). -
How to Eat AUSTRALIAN the Vast Country, Its Landscape Home to Thousands of Wild Edible Ingredients, Has No Clear Native Cuisine
How to Eat AUSTRALIAN The vast country, its landscape home to thousands of wild edible ingredients, has no clear native cuisine. Chef Jock Zonfrillo wants to change all that. BY JAY CHESHES PHOTOGRAPHY BY DEREK HENDERSON NATURE’S BOUNTY Sweeping dunes, ringed by edible succulents, along the west coast of Australia. Chef Zonfrillo sources ingredients here for his restaurants in Adelaide. 91 Though he’s certainly at ease on camera, he’s most comfortable out of the limelight and far of the grid, as he is now, touring the Kimberley with Bruno Dann. Returning to Dann’s camp from their coast walk laden with seafood, the chef starts prep- ping dinner under a big wooden shelter, across from a picnic table and a fire pit shooting up brittle-wood flames. “I didn’t know we had these in Australia,” he says, prying open a giant clam, a flashlight strapped to his forehead illuminating his bush-kitchen work space. He transforms half the meat into an impromptu ceviche, then grills up the rest, yakitori- style, with his long surgical chef’s tongs. Dann and his partner in life and business, a trans- plant from Sydney named Marion Manson, harvest an orchard here that supplies wild lemongrass, narcoleptic jilungin tea and gubinge (also known as kakadu plum) to Zonfrillo. The tiny tart green plums, said to be among the most vitamin-C-rich fruits on earth, have become their big cash crop, distributed Australia-wide by a health-food wholesaler that sells a powdered form. The couple first met Zonfrillo seven years ago when he came rumbling up their bumpy dirt road, his Mitsubishi Outlander falling apart after a mostly unpaved 38-hour drive from Adelaide, two NoDoz- and-Red-Bull-fueled 19-hour shifts across the desert. -
Writing Australian Cookbooks for Younger Readers
Brien & Wessell From ‘training in citizenship and home-making’ to ‘plating up’ Central Queensland University Donna Lee Brien Southern Cross University Adele Wessell From “training in citizenship and home-making” to “plating up”: Writing Australian cookbooks for younger readers Abstract: In term of popular literature about young people, cookbooks purporting to address children’s obesity and other diet related issues currently take a prominent place. Beside these, there is a growing related sub-genre of cookbooks for young people that are intended as guides use in practical food preparation. These include television tie-ins such as the globalised Junior MasterChef series as well as books by chefs, nutritionalists, activists, celebrities and parents, most of which have an almost rigidly proscriptive take on what, how and why children eat, and what and how they should eat. Working from Australian cookery instruction books for girls such as those by Flora Pell (1916 and later), through Margaret Gossett’s landmark Children’s Picture Cookbook (1947), to today’s plethora of children-targeted volumes, this paper addresses this Australian publishing phenomenon. It examines these books from the point of view of writers-as-producers as well as the intended consumers for these volumes, the various messages they convey, and what they reflect about food, society and writing for children in Australian popular culture. Biographical Note Dr Adele Wessell is a Senior Lecturer in History at Southern Cross University and Associate Fellow at the National Museum Australia. Her research focuses on food history. Recent publications include a special issue of TEXT journal co-edited with Donna Lee Brien on the Cultural Dynamics of Contemporary Food Choices. -
Squeeze More out of Life! What We’Re Contents About What We’Re About 3
STUDY GUIDE SQUEEZE MORE OUT OF LIFE! WHAT WE’RE CONTENTS ABOUT WHAT WE’RE ABOUT 3 THE BOOST JOURNEY 4 & 5 THE FOUNDER 6 & 7 PRODUCT INNOVATION 8 SUPERMARKET RANGE 9 GUARANTEE 9 MARKETING AND PROMOTIONS 11 MARKETING CAMPAIGNS 12 & 13 DIGITAL BITS 14 & 15 CUSTOMER SERVICE 6 & 17 FRANCHISING 18 & 19 AT BOOST, WE WANT EVERY SINGLE OPERATIONS TEAM 20 CUSTOMER TO LEAVE SMILING AND HR 21 FEELING JUST THAT LITTLE BIT BETTER. BOOST INTERNATIONAL 22 STORE DESIGN AND DEVELOPMENT 23 From our amazing Boost franchise partners, dedicated Boosties and passionate Support AWARDS 24 & 25 Centre employees, everyone embodies a FAQS 26 ‘Love Life’ attitude and remains committed to RETAIL ZOO 27 providing a world class customer experience. 3 INNOVATIVE RETAIL CONCEPT THE BOOST While the juice bar concept was relatively new for Australia, the way Boost presented the brand was also new for retail in general. Boost was never simply about healthy and great tasting juice or smoothies - the brand is built on the entire Boost experience that takes place every time a customer enters a store. This experience is a combination of a great tasting product, served by positive and energetic people who greet you with JOURNEYJOURNEY a smile and are polite enough to call you by your first name in a bright and colourful store environment with fun music to match! This point of difference is further enforced through A BOOST IS BORN! the brand’s on-going commitment to product innovation, unique tactical marketing campaigns and partnerships, a In 2000, Janine Allis saw a gap in the Australian market for a healthy fast robust customer relations strategy and our Vibe Club loyalty food alternative. -
Annual Report 2015
ANNUAL REPORT 2015 AGM 24 May 2016, 6:00pm at the RTS, 3 Dorset Rise, London EC4Y 8EN ROYAL TELEVISION SOCIETY REPORT 2015 PATRONS PRINCIPAL PATRONS IBM BBC IMG Studios BSkyB ITN Channel 4 Television KPMG ITV McKinsey and Co S4C Sargent-Disc INTERNATIONAL PATRONS STV Group Discovery Networks UKTV Liberty Global Virgin Media NBCUniversal International YouView The Walt Disney Company Turner Broadcasting System Inc Viacom International Media RTS PATRONS Networks Autocue YouTube Digital Television Group ITV Anglia MAJOR PATRONS ITV Granada Accenture ITV London Amazon Video ITV Meridian Audio Network ITV Tyne Tees BT ITV Wales Channel 5 ITV West Deloitte ITV Yorkshire Enders Analysis Lumina Search EY PricewaterhouseCoopers FremantleMedia Quantel FTI Consulting Raidió Teilifís Éireann Fujitsu UTV Television Huawei Vinten Broadcast 2 CONTENTS Foreword by RTS Chair and CEO 4 Board of Trustees report to members 6 I Achievements and performance 6 1 National events 6 2 Centres events 34 II Governance and finance 46 1 Structure, governance and management 46 2 Objectives and activities 47 3 Financial review 47 4 Plans for future periods 48 5 Administrative details 48 Independent auditors’ report 50 Financial statements 51 Notes to the financial statements 55 Notice of AGM 2016 66 Agenda for AGM 2016 66 Form of proxy 67 Minutes of AGM 2015 68 Who’s who at the RTS 70 Picture credits 72 Cover: Coronation Street actor Sair Khan speaking from the audience at the RTS early-evening event ‘The secret of soaps: the story behind the stories’ 3 ROYAL TELEVISION SOCIETY REPORT 2015 FOREWORD his was a busy year for the Society. -
Masterchef Stainless Steel Flatware
5678 Bandini Blvd., Bell, California 90201 Tel: (323) 780-2899 * Fax: (323) 780-3219 www.wingar.com MasterChef stainless steel Flatware Case Illustration Item # Description UPC Code Packing ( 7 84094 ) Cube / 40’ Cnt G.W. 70101-20 Francene 20pc. stainless 701011 6 sets 0.57’ 21,000 sets steel flatware 9.5 lbs 70105-20 Serene 20pc. stainless 701059 6 sets 0.57’ 21,000 sets steel flatware 9.5 lbs 70106-20 Victoria 20pc. stainless 701066 6 sets 0.57’ 21,000 sets steel flatware 9.5 lbs 70101-20T Francene 20pc. flatware 010120 6 sets 1.03’ 11,700 sets w/bonus plastic tray 12.5 lbs 70105-20T Serene 20pc. flatware 010526 6 sets 1.03’ 11,700 sets w/bonus plastic tray 12.5 lbs 70106-20T Victoria 20pc. flatware 010625 6 sets 1.03’ 11,700 sets w/bonus plastic tray 12.5 lbs 70101-24 Francene 24pc. flatware 010113 6 sets 0.70’ 17,100 sets with bonus steak knives 11.0 lbs 70105-24 Serene 24pc. flatware 010519 6 sets 0.70’ 17,100 sets with bonus steak knives 11.0 lbs 70101-45 Francene 45pc. stainless 010144 6 sets 0.84’ 14,400 sets steel flatware 19.8 lbs 70105-45 Serene 45pc. stainless 010540 6 sets 0.84’ 14,400 sets steel flatware 19.8 lbs Illustration Item # Description Packing Cube 8119H-20 Victoria 20pc stainless 6 sets 0.84’ steel flatware set 7123-20 Viva 20pc stainless steel flatware set 8127-20 Prince 20pc stainless steel flatware set 7123-50C Viva 50pc stainless steel 6 sets 1.14’ flatware with wire buffet caddy 8127-50C Prince 50pc stainless steel flatware with wire buffet caddy Illustration Item # Description Packing Cube 76035A Tiffany -
The Politics of Cooking: Class, Inequality and Power in Masterchef Australia
The Politics of Cooking: Class, Inequality and Power in MasterChef Australia By Robert Lindsay Moore School of Social Sciences Submitted in fulfilment of the requirements for the Master of Arts University of Tasmania October 2017 THE POLITICS OF COOKING: CLASS, INEQUALITY AND POWER IN MASTERCHEF AUSTRALIA This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. This thesis may be made available for loan and limited copying and communication in accordance with Copyright Act 1968. 7 October 2017 ii THE POLITICS OF COOKING: CLASS, INEQUALITY AND POWER IN MASTERCHEF AUSTRALIA Contents Tables and Illustrations v Acknowledgements vi Abstract vii Introduction 1 MasterChef Australia 2 Aims and Scope 4 Thesis Outline 5 Literature Review 6 Food and Reality Television 6 Food Television as Reality 9 MasterChef Australia 10 Class Theory and MasterChef Australia 19 The Nature of Reality Television 27 Theoretical Perspectives on Reality Television 31 Identity and ‘Makeover’ in Reality Television 32 Class and Reality Television 34 Tools for Analysis 36 Reading MasterChef Australia 42 Food Dreams 47 Ingredients 51 Cuisine and Technique 61 Personal Presentation 68 Proxemics 78 Conclusion 90 Appendices 94 iii THE POLITICS OF COOKING: CLASS, INEQUALITY AND POWER IN MASTERCHEF AUSTRALIA Appendix 1: Nicolette’s breakdown, E35W07–5 94 Appendix 2: Anatasia’s breakdown E37W08–2 98 Appendix 3: Matt's breakdown E57W12-2 100 Bibliography 104 iv THE POLITICS OF COOKING: CLASS, INEQUALITY AND POWER IN MASTERCHEF AUSTRALIA Tables and Illustrations Table 1: Age groups of MCA contestants 44 Table 2: Occupation groupings of MCA contestants 45 Figure 1: MCA judges, Season 8, E01W01–1.